Name: Queens on the Run
Genre: Comedy
Released: 2023-04-14T00:00:00+00:00
Cast: Martha Higareda, Paola Nuñez, Alejandra Ambrosi, Valeria Vera, Claudia Pineda

The opening scene of Queens on the Run is a riot: four women, mid-life crises in tow, pile into an RV, their high school road trip finally happening decades later. Laughing, arguing, and reminiscing, they embody the chaotic energy of long-time friends reuniting. It’s a promising start for a film that aims to capture the spirit of female camaraderie and self-discovery on the open road.

Directed by Jorge Macaya, Queens on the Run (or Fuga de Reinas) is a Mexican female-led comedy that follows Paty Fénix (Martha Higareda), Famela Guerra (Paola Nuñez), Marilú Dávila (Alejandra Ambrosi), and Estrella Solares (Valeria Vera) as they embark on a journey filled with unexpected encounters. The film’s premise is timely, tapping into the current wave of female-led ensemble comedies that celebrate friendship, personal growth, and the complexities of modern womanhood.

What makes Queens on the Run stand out is its cast. Martha Higareda delivers a standout performance as Paty, bringing a mix of wit, charm, and vulnerability to her role. Her chemistry with Paola Nuñez’s Famela Guerra is electric, their banter and sisterly dynamic serving as the film’s emotional core. Nuñez shines in her comedic timing and ability to balance humor with moments of genuine emotion.

Alejandra Ambrosi and Valeria Vera hold their own alongside Higareda and Nuñez. Ambrosi’s Marilú Dávila is a complex character, struggling with past regrets and the weight of unfulfilled dreams. Vera’s Estrella Solares adds a touch of quirkiness to the group, her eccentricity providing some of the film’s most memorable moments.

The film’s soundtrack is another highlight, featuring tracks like Shania Twain’s “Man! I Feel Like A Woman!” which perfectly complement the road trip vibe. The music choices are smart, elevating key moments and infusing the narrative with energy. The inclusion of Latin pop and rock anthems adds a layer of cultural richness, grounding the story in its Mexican setting.

However, the script falters in its execution. Despite a crisp runtime of just over an hour, the film feels sluggish at times. The encounters the women have—with hookers, hippies, mafia members, and more—lack the depth and originality needed to keep the audience engaged. The humor often falls flat, relying on tired tropes and clichés rather than fresh, innovative comedy.

The film’s pacing is another issue. The narrative stalls in the middle act, with several subplots that don’t quite pay off. For instance, the introduction of Ricardo Muñoz Senior’s Dr. Claudio and Ricardo Reynaud’s Ramiro feels forced and disconnected from the main storyline. These characters add little to the overall narrative, serving more as obstacles than meaningful interactions.

The resolution of Marilú’s storyline is particularly disappointing. The climax, where Marilú decides against confronting Antonio in Cancun, lacks emotional weight. This moment, meant to be a culmination of her character arc, feels rushed and unsatisfying. The film misses an opportunity to delve deeper into Marilú’s internal struggle, opting instead for a quick resolution that undermines the buildup.

Visually, Queens on the Run is competent but unremarkable. Macaya’s direction is serviceable, but there are few standout moments or innovative shots that elevate the material. The cinematography is functional, capturing the vibrant landscapes of Mexico, but it doesn’t add much to the story’s emotional resonance. The film’s visual style leans heavily on traditional road movie aesthetics, which, while familiar, fail to bring anything new to the genre.

Thematically, Queens on the Run explores themes of friendship, self-discovery, and the passage of time. These are rich topics that have been mined successfully in films like Booksmart and Girls Trip. However, Queens on the Run struggles to find its unique voice within this landscape. The film’s attempts to tackle serious issues, such as past regrets and unfulfilled dreams, feel superficial and underdeveloped.

The film’s target audience is likely women in their 30s and 40s who can relate to the characters’ mid-life crises and the desire for a second chance at youthful adventures. However, the film’s narrow focus on this demographic may limit its appeal. The humor and themes are specific enough that they might not resonate with a broader audience.

In comparison to other female-led road comedies, Queens on the Run falls short. Films like Booksmart and Girls Trip successfully balance humor and heart, delivering both laughs and emotional depth. Queens on the Run, on the other hand, leans too heavily on humor, often at the expense of character development and thematic exploration.

In the end, Queens on the Run is a film that has moments of genuine humor and heart but ultimately falls short of its potential. The performances by Higareda, Nuñez, Ambrosi, and Vera are strong, and the soundtrack is a standout feature.